Part 3: Music Making Tips....Mixing:

Part 3 Mixing:
Okay, this is part 3, so no more introductions etc. we are just going to get started right away with tips which will help better your mixing.



Do yourself a favor and at least watch this last video...(or what I say next will not make any sense).



The last way to add space to your mixes is through panning. By strategically panning your instruments subtly across the stereo field you will leave more room for your vocals. Even a minor pan of 5% can really open up your mixes.
"Traditionally" the instruments in the middle of your mix are Bass, Kick, Snare, and Vocals remember to use shelving EQ's, high/low pass filters and subtle compression to give each one of these elements their own space.


(side note: the reason why the Bass and the Kick are in the center of the mix goes back to the days of pressing vinyl; if the low frequency instruments were "too loud" and off center in the mix they would cause the grooves on the record to become poorly shaped).

Before we go any further I should point out that if you want to add special audio effects to your tracks do them at the production stage, when you are mixing you need to concentrate on getting everything perfect.

Today's post is going to be shorter than the last two posts, now that I've covered the basics of mixing, let's briefly look at the tools; EQ, Compressor, Reverb.

Eq:
The EQ is the Mix and even more so the Mastering secret weapon. If you can not fix a problem with one of these things then three things are possible; you do not know how to use an EQ. If this is the case then please just leave all the knobs alone and hire a mix engineer, I will mix your record for 20$'s an hour and if your record is well produced/your stems are organized it might not cost you much at all.
OR You are using the wrong EQ, if this is the case then once again...20$'s an hour.
OR you need to go back to the studio an re-record.
So what is an EQ?
An EQ is a volume knob that only effects targeted frequencies, who targets the frequencies (you or the designer of the EQ) depends on the type of EQ you are using.
At this point I could talk about "scopes" but I won't. Instead I am just going to set three rules for you to follow.
1.CUT don't boost: Sure the occasional subtle boost of frequencies in the hands of an experienced engineer can add "air" to the mix but for the most part you want to use your EQ to reduce problematic frequencies and to create space in your mix.
2.The 6db rule: If you need to CUT a frequency by more than 6db then you need to go back to the studio and re-record.
3.Practice: This should be obvious, practice using your EQ's even if they are just plug-ins. The EQ is easily the most important device in your rig.



(*read this guys book if you get the chance)

Compressors:
I'm not going to tell you how to use a compressor. There are too many tutorials online about these things and most of them are far off base. All I will say is that I would never use a compression Ratio higher than 4:1 (unless on drums...rarely), when I do use compression it is usually at a 2:1 ratio. Most of you have a vague idea of what a compressor does, but I just want to go on the record to say that before you guys just slap compression on everything to "even it out" how about you use the envelope tool in your DAW. AND NO, compression will not make your (insert sound or instrument name) sound "beefier"...definately not after mastering... Compressors actually minimize the distance speaker cones move which means less punch not more. Do they have a certain useable sonic quality...yes.
What you have to realize is that audio tape has a natural compression quality. When things went digital we lost it, but we now had an infinite supply of compressors, and this obbession with compression began. I could go deeper but I think I've said enough, less compression more mixing...got it? Good!



(wow I actually found someone online who agrees with me)

Reverb:
Reverbs are effects that simulate the sonic characteristics of physical spaces. In simple language that means that you can make it sound like you recorded your vocals in a church with the right type of reverb (in this case a convolution reverb).
I know I said that special effects should be handled in the production stage but subtle reverb in the mix stage is handy for 2 types of jobs:
1.Minimizing the fatiguing effects of over compression (see above...)
2.Making instruments sound like they belong in the same sonic space.
Most DAW's and most mixing boards (if you are doing an analog mix) should allow you to do this.
Put your best reverb onto an effects BUS ( I don't care how you set it but make sure that its signal is set to wet...you do not want any dry signal).
Now whatever channel needs reverb just needs to send a signal to the effects BUS.
You shouldn't hear it in the mix. If you can hear it you are probably using too much, but you should be able to feel its effects on the mix.



See ya'll tomorrow for part 4 of 4 on this series.
Mastering.

peace,

One Love.